Once again, I’ve assembled the playlist in both Youtube and Spotify so that you can follow along.
Notes: The YouTube playlist is more complete than the Spotify one, missing 5 songs to 13. Of those five, “Under the Sun” and “Milk & Moon” can be found on full albums on YouTube. I couldn’t find much of 7mai on either service, so here are Soundcloud links to the full EP releases of the two songs of theirs that I reference: “Strawberry Mousse”, “Celestial”. The only place that I can find “Spring Cleaning” is on Sir Babygirl’s Bandcamp page.
With all of that out of the way, onto the article:
My Favorite Albums of the Playlist:-St. Lucia
St. Lucia dropped a lot of their new album, Utopia, early as pre-release singles in the run-up to the full release, and I’m always a little mixed about that strategy. I understand that constantly dripping out new material is a good way to stay at the forefront of people’s minds, which is becoming increasingly important in music. But it does feel like it can sometimes dull the impact of the full album; finding new surprises to enjoy on your first or second listen of a full record is one of the things that I like most, and knowing most of the songs early undercuts it.
But it didn’t seem to matter here, thankfully. On the one hand, Utopia is great, and no amount of pre-release familiarity was going to dull its impact. I still stand by “Touch” being maybe my favorite track of theirs (which I said when it made my last playlist article), and it’s backed up by a ton of other strong tracks, like “Take Me Away”, “Another Lifetime”, “Rockets on My Feet”, and so on. Few other artists have as good an ear for big soundscapes and ringing, triumphant choruses that you can shout along to, in my opinion.
But on the other hand… maybe it’s just too good of an album for surprise to totally wear it down? The group has a strong track record, and I love all four of their albums. But maybe I’d be saying Utopia easily stands above the others if I heard it mostly at once with only one or two singles, as I did their first three (When the Night, Matter, and Hyperion). I guess all I can do at this point is keep re-listening over time and see if my opinion on it grows as much over time as it has for the others.
Every now and again, maybe once or twice a year, I’ll stumble upon a new album from an artist that I haven’t heard of or don’t really follow, and fall in love with it, leading me to go back through their older work and discover that 1) there’s a decent amount of stuff to listen to, and 2) I love it as well. At that point, I just end up kind of stuck on that artist for a few weeks, maybe trying some other stuff but always circling back to them. And that is why there’s so much Fickle Friends on my End of 2022 Playlist.
I saw their new album from earlier in 2022, Are We Gonna Be Alright?, while browsing for something I hadn’t heard before, and immediately latched on. It wound up being one of my favorite albums of the year, just 40 minutes and a dozen songs of tight, bouncy, catchy synthpop. I had it on loop for days, dancing and singing along to songs like “Glow”, “Pretty Great”, “IRL”, “Love You to Death”... there something about it that all works perfectly, the hooks are so memorable and tight, and the lyrics stick in my mind simply capturing moments of love and relationships and loneliness.
And from there, I went back through their back-catalog. Their debut album You Are Someone Else was a little less polished, but still displayed all of their talent beautifully. Their two Weird Years EPs served as a perfect pandemic-era bridge between the two. All of the B-sides and early EPs were similarly fun, all the way back to their first one in 2014. I can’t believe I missed them for this long, they really are straight up my alley! And I spent a lot of the end of 2022 just getting caught up on them, so they end up making a lot of this playlist.
In the past, I’ve tried to limit my picks from a single artist somewhat, but… these lists are at least partly for me to revisit, too, so I’d like it to reflect what I was listening to at the time. And I honestly was just listening to Fickle Friends for a while this year!
-Carly Rae Jepsen
I was a little worried about The Loneliest Time; following up two absolute classic albums like Emotion and Dedicated seems like it would be a tall order. Thankfully, The Loneliest Time lived up to it; it helps that it moved into its own sort of territory, separate from those two albums, lower key while still somehow full of big, emotional moments. But like those two, it's just a bunch of top-notch bangers throughout, with a few 11/10 songs (“Shooting Star” and the title track duet with Rufus Wainwright) highlighting the experience. And now, we can once again return to anxiously awaiting the arrival of The Loneliest Time B Sides.
I stumbled upon Calypso Drip FM, a 2020 release that I totally missed, while browsing Bandcamp, and was instantly intrigued; it sounds like the platonic ideal of synthwave*, with big synths and saxophones solos and all of that. But it grew on me substantially over multiple listens, in a way that a lot of things in that style do not. I’m not sure what it is, it might just be that singles like “Jessie” or “New Religion” or “Do You Feel Like This” are just SO memorable, or maybe the instrumentals are extra type, or maybe it has a strong grasp of its aesthetics. Something takes it to the next level, though. I will say that the album is loosely themed around driving around L.A. around sunset on a Friday, and I got a chance to do that a few weeks ago using this album as the soundtrack… Damn, does it ever nail that vibe perfectly!
*Honestly, I might be using this wrong since it’s one of the subgenres that I’ve learned about almost entirely from browsing Bandcamp, but my impression of synthwave is “stuff that sounds like ‘80s synth music, but the cinematic version of it”, if that makes sense?
-Damn the Witch Siren
This Columbus duo is another one I was introduced to this year, when I stumbled upon their new release Gold Magic. This one is just a lot of high-energy, goofy, Glam Rock fun from the drop, opening with the frenetic horn energy of “Claire Danes” (which ends on alto sax solo just going to town on the upper register of the instrument, mad respect there). The album is just full of these big, fun moments, with the horns returning on “Boys Don’t Cry”, the dark grime of “Rich Man”, the belting vocals and wailing synths on the chorus of “Vulture Culture”... Definitely a lot of fun.
I also went back and listened to their earlier albums, White Magic and Red Magic, and while none of them coalesces quite as well as Gold, there’s still a lot of good songs and moments, and I’ve included a few of them on the playlist as well. I’m a big fan of “Love Song in D Major” in particular, with stand-outs like its two big instrumental drops, or every instrument dropping out under the vocals to emphasize the line “My heart, heart skips a beat”.
There’s something about Every Moment of Every Day that just perfectly hits my sweetspot, that exact mix of “really sad and thoughtful but sounds fun”. Short Fictions is a Midwest Emo* band that delves occasionally into symphonic touches like horn solos here, for a really grand and intricate sound that I dig. And there’s something about the lyrics on songs like “You Will Never Be the Best at Anything You Try (Surely Not)” and “Don’t Start a Band” that just speaks to a lot of my sadder sensibilities and deeper anxieties. There’s something about this record that just perfectly lines up with my memories of living in Pittsburgh (their hometown).
*I think? Again, a lot of my knowledge of subgenres is usually just trying to infer things, so there’s always a chance that I’m just off-base. And I’ve seen enough music discussions online to know that some people get very angry when you mess certain ones up.
There’s Someone Else in My Skin is the debut album of dream pop/shoegaze quartet Lilac, and I enjoyed it very much. Just nine catchy tracks of reverb-laden guitars and floating baritone vocals; it’s very easy to just throw on and lose yourself letting it wash over you.
This is another one where I went back in the artist’s discography; the one that drew me and impressed me the most was her debut album (or extended EP? I have no idea), Crush on Me (specifically, the remastered BICONIC Edition). It’s a bunch of just very strong electro bubblegum pop, with Sir Babygirl showing off strong pop songwriting skills; memorable choruses, impressive vocal performances, fun lyrics, musical leitmotifs and reprises, the whole nine years. The chorus of “Pink Lite” is one of my favorite choruses of the year, a big build to an emotional scream, just great stuff all around. I also checked out her Golden Bday Mixtape, which has good original songs and cover performances, but since it’s just a Mixtape, I missed the cohesiveness of Crush on Me.
One of the weird things about finding music now is how atemporal it is. I found Soul Push’s Neon Jungle EP by landing on their Bandcamp page somehow, and really enjoyed it! It’s listed there as a late 2016 release (although searching on Spotify, it looks like it’s been re-released since then, as two separate four-song EPs?), and it feels like it. It has the same sort of sound as a lot of the small, indie/alternative acts that I would go and see in small venues while I was in college or right after. I don’t know how exactly to describe it, but with more distance and as music as an industry has kind of moved away from that as a default, I feel more and more like that era and sound has a distinctive feel. Maybe I’ll get better at putting it into words over time with more thought, but needless to say, it hit my nostalgia pretty squarely. Their newer stuff is also pretty good, but they’ve also kind of moved in a direction away from that. That’s very understandable, it’s been years since then, but it does mean that they’ve kind of moved away from that very specific feel that drew me into Neon Jungle.
Other Good Albums-Callbacks:Megan McDuffee and ALEX: I had this pair’s most recent collaboration, “Villain”, on my last playlist (a filthy synth track with some industrial, drums’n’bass vibes), as well as several songs from Megan’s most recent solo effort, the dark and moody album Inner Demons. So I went back to check out their 2018 album Hero expecting something like akin to either of those, and was kind of surprised? It feels much more akin to CHVRCHES’s debut album The Bones of What You Believe, with sparser arrangements and a much more definitely electronic, artificial feel to the synth lines. Megan’s influence from video games also shines through as well. And the songs themselves are also a lot more upbeat. All in all, I liked it quite a bit!
The 1975: I’m not going to lie, I was a little hesitant to check out The 1975’s newest album, Being Funny in a Foreign Language. I’ve enjoyed their previous albums to varying degrees, and there are always some tracks that I love, but I found their continuously increasing lengths kind of bloated and uninteresting on the whole. I was just going to check out the best songs, but then I saw that 1) Jack Antonoff was co-producing it; and 2) it was their shortest album yet. So I gave the whole thing a try, and wound up being very pleased! The 1975 still have plenty of good songs (the first half of the album is loaded with bops), and they don’t get bogged down by their normal 60+ minute runtimes, making this probably my favorite album of theirs since their self-titled debut (which was their shortest album to date until this one released, perhaps not coincidentally). Not sure how much of that was Antonoff’s idea or the band’s, but I think it paid off!
Betty Who: I am now realizing I haven’t actually written about Betty Who here before? Her last album came out in 2019, before I was regularly doing these regular seasonal playlists, so it’s just been a smattering of songs since then. I really liked her first two albums and both wound up in my regular rotation for a while, but I was a lot more indifferent to the third one, for reasons I haven’t fully sorted out. Maybe for the best it landed in 2019, then. Anyway, much like with The 1975, it made me more hesitant about BIG!, but I ended up liking it a lot more than the last one. It’s a lot more anthemic, for sure, which might be what I thought the third album was missing? So yeah, call this one another bounce-back record for me.
Oh Wonder: I shouted out 22 Break on last year’s year-end list, which felt very raw as the band dealt with their near-divorce (they’re a married couple outside of music), and now we get the companion piece, 22 Make, celebrating their renewed love. That’s… honestly not as good of a topic for a single throughline, so this album doesn’t cohere into a single “thing” as well, sadly. But Oh Wonder do feel like they have a renewed energy from working through their issues at least, so the songs are still a lot of fun!
Jamie Paige: She had another new single back in November, “🤼♀️ (:women_wrestling:)”*, and it’s another synthy, vocaloid bop. I also added a few songs from her second-newest album, Autumn Every Day; I was listening to her back catalog at lot last time, but was still trying to adhere to the “not too many songs from one artist” thing and her newer album, Bittersweet, overshadowed it (it’s still one of my favorites on the year). Since I don’t care as much about that artificial cap now, I’ll throw them on here (including her cover of New Order’s “Bizarre Love Triangle”, which is great). Besides, it’s not like I totally stop listening to stuff after I put it on a list.
*I gotta admit, I’m a sucker for the novelty of a song with an emoji for a song title, even if it brings up a lot of logistics issues. Like how weird it looks putting it in quotations, or the necessity of the subtitle given that every OS has different emojis and it might not display properly everywhere.
Foxes: As promised, I went back to check out All I Need after naming The Kick my favorite album on my Summer Playlist. All I Need isn’t quite as good, but I feel like I have a better understanding of how she got to The Kick (my favorite album from my Summer Playlist). This one drags a little bit at times (the bonus version is nearly 20 minutes longer than the kick, and the lower points are definitely slower), and there are fewer standout singles. But Foxes still has a way with her songwriting and pumps out a few classics, too; I am for example compelled to stop what I’m doing and belt out “OOOOHHH (oooh!), and let your body talk!” when the chorus of “Body Talk” hits. “Amazing”, “Feet Don’t Fail Me Now”, and “Better Love” are some other good ones.
Two Door Cinema Club: Like clockwork at this point, Two Door Cinema Club has returned after a three-year break to release a fun alternative pop-rock album, this time titled Keep on Smiling. They do a few things different here, with the most notable being singer Alex Trimble playing around with his vocal style more, but it’s still recognizably their sound. I don’t know that I have a lot to add here, other than I really enjoyed it, something that I think I can say about all five of their albums. I’m not sure that I can say that any one of them has ever been in my running for Album of the Year when it comes out, but they’re always solid things to throw on when I need something fun and reliable.
Rina Sawayama: I really liked her last album, which got high honors in my Summer 2021 Playlist, but… I don’t know, I was kind of underwhelmed by Hold The Girl? It’s a perfectly fine pop album, though! It’s just that… it kind of pales in comparison to the last one, which careened wildly from nu-metal to new jack swing to electronic, exploring a ton of influences and styles. Hold The Girl in comparison is more or less just pop music; some of it darn good pop music, mind you, like “Frankenstein”, “This Hell”, “Catch Me In The Air” (that one was on my Summer 2022 list)... but it still doesn’t quite hit the same way. As long as you go in expecting that, though, it’s probably less of an issue.
chloe moriondo: This one is almost the opposite case. In my End of 2022 list, I called out moriondo’s Blood Bunny as one of my favorite albums of the set. If you want more of that bedroom pop and indie rock feel, the EP puppy luv from April fills that niche. But for her actual album SUCKERPUNCH, which came out in October, she took a hard turn into hyperpop. It’s a bold move, given the sonic distance from her earlier work and the strong chance of alienating fans, and one clearly done from the artist’s interest in the style. I think her writing is still strong enough that it works, but it feels like some more experience would have helped? The more traditional pop songs are fine (and it’s what I drew from for my two picks), and there are interesting bits in the more extreme hyperpop numbers, but… I don’t know, maybe the production team needed to be someone more familiar with the genre? For instance, underscores (Hey, remember her, from my last two playlists? She’s pretty darn good at this hyperpop thing!) did a good remix of “Cdbaby<3”, and it just made me wish for a full collaboration between those two, or underscores working with chloe on the original production, or something. I don’t know, we’ll see what happens next here, I guess.
Paper Idol: I called out Paper Idol’s EP Mania Days back on the Summer 2021 list, and he finally followed it up with his debut album The Playground. It’s some more solid electronic alternative, and I’m not sure any song measures up to the all-time classic that is “James Bond” from the last one, but “Young Hearts” sure tries its best!
Panic Division: Another returning one from the Summer list where I liked my first exposure (the 2019 album Touch) so much that I went back to check what I had missed in their earlier work. 2015’s Aero Nautical was more of the same, and surprise, I also enjoyed it! I think I ultimately prefer Touch for having stronger hooks and singles, but honestly, that preference might also just be personal bias because I listened to it first.
Client Liaison: Same goes for Client Liaison. Diplomatic Immunity followed up their self-titled EP with eleven more tracks of funky synths and fun danceable pop. Not sure how much more you can ask for.
gloss: Meanwhile, gloss’ debut EP Entwined was a little less polished than Are You Okay?, but it’s still some strong jazz fusion/pop music.
White Hinterlands: And continuing the theme even further, I listened to Baby by White Hinterland (the name Casey Dienel recorded under prior to Imitation of a Woman to Love, which I really enjoyed on the last playlist). It wasn’t bad, I liked a few of the songs (“Ring the Bell” was my standout track) and I felt a lot of the connections between the two albums, but ultimately I just didn’t connect with this one as well. Maybe because it was a little too soft and atmospheric for my tastes? But it could be worth checking out for you if that sounds appealing.
Other Good Albums-New Stuff:The Happy Fits: I realize that I have a tendency to go pretty heavy on the synths in my music, due to personal preferences (especially lately, since browsing genres has been a big way in how I use Bandcamp to find new things). But I promise, I do listen to other things! For example, I really enjoyed The Happy Fits, a three-piece alternative rock act who I found through their newest album Under the Shade of Green. They advertised their use of a cello in place of a traditional bass guitar, which I kind of thought might be a gimmick, but no, I actually do like what it does with their sound! They have more traditional rock numbers like “Around and Around”, but I think songs like “Little One” show off some of the more unique things they can do as well, with its big, singing cello lines. I also added a few songs from their previous album, What Could Be Better, which I checked out after liking Under the Shade of Green (although I do think the newer album is the better one here, if you’d like a starting point).
Sobs: In other less synthy things, we have Sobs, a three-piece power/jangle pop act. Their (album? EP?) Air Guitar is a short-and-sweet set of to-the-point pop-rock songs that will get stuck in your head; I especially liked the lead-off title track. Their previous album (2018’s Telltale Signs) was also not bad.
Indigo: My delves into Synthwave produced a lot of results besides Gryff, and some of them kind of blend together, but Indigo’s self-titled debut was another stand-out entry! Big, dramatic, haunting, atmospheric… really, everything you could want out of that sound.
Korine: Korine’s The Night We Raise was another fun one. I described synthwave earlier as a more cinematic-style of ‘80s synth music, but Korine’s style is probably closer to actual ‘80s synth music, with a darker, post-punk sound, and colder synths. It also helps that the singer has a deeper voice and belting delivery, which reminds me of… some singer from an ‘80s band that I’ve been trying and failing to think of for months now, it’s kind of bugging me… maybe Roland Orzabal from Tears for Fears? Honestly, that doesn’t sound like the worst comparison for the band on the whole. Either way, check them out; I’m excited to try their new album in a few months as well!
Sylvan Esso: I had been meaning to give Sylvan Esso a listen for a while now; I’ve seen a lot of praise for them, and they seemed up my alley. Well, I finally got around to trying their 2017 album What Now, and I liked it a lot! It’s some good dark, electronica pop music to jam to on a dark night.
Kitten: I tried an album and EP from them (Personal Hotspots and Goodbye Honeymoon Phase), and had a good time. They’re… kind of a new wave-y pop-rock act that experiments with a lot of different styles? Not quite as drastic as the genre roulette of Sawayama, but they had some of the energy that I was missing on Hold the Girl. Kind of short, and I sometimes can’t tell how much of their writing is sarcasm versus just being goofy, but I still enjoyed it!
Hermes Trismegistus: I’m not sure how big the overlap is between “fans of electronic dance music” and “fans of Arthurian Legend” is, but I know that I am certainly within the subset. So it was maybe not a surprise that I enjoyed Neon Grail by Hermes Trismegistus, which is a concept album generally themed around the Quest for the Holy Grail, complete with a 12-minute finale suite titled “Long Journey to the Grail Temple”. If you’re the type of person that finds this description exciting, I think it’s definitely worth checking out!
Other things I enjoyed, but don’t have a lot to say about:
-Yacht World, Engelwood
-Heroes, The Midnight
-Angels Never Die, Mouse
-Melonday, Tomo Nakayama
-lotus deluxe, LANNDS
-What Happens After, Laveda
-Stray Fantasies, Mint Julep
-Somewhere Nowhere, Friday Night Firefights
Other Quick Hits:Bad Suns: I didn’t really call out the Bad Suns’ new album, Apocalypse Whenever, in my last playlist, but it was solid! I’ve liked all four of the post-punk group’s albums to date, and I feel like I don’t reflect on that enough? It’s kind of like what I said about Two Door Cinema Club. Anyway, they released a Deluxe Edition of Apocalypse Whenever with three new tracks, including a collaboration with PVRIS called “Maybe You Saved Me”. If you missed that one, now’s a good chance to go back and give it a spin!
Magdalena Bay: Speaking of bonus albums, they released a deluxe edition of one of my favorite albums from last year, Mercurial World. It’s still good, although I think the normal, shorter version flows a little better. Especially since the bonus stuff is interwoven into the normal track listing, rather than added at the end. I respect the added effort though, and some of the new tracks are fun on their own, too!
Lake Street Dive: I’ve mentioned before that I like listening to covers, and Lake Street Dive is one of my favorites to look up. They always have creative takes that sound great, and they released another cover EP (Fun Machine: The Sequel) showing off this skill. All of it’s great (and I’m including two songs as a result), but I want to call out their version of the Cranberries’ “Linger”. I love the original, and was highly skeptical of their fairly major re-arrangement on the opening notes, but wow, does it ever hold its own!
YSSY: Another one I found browsing Bandcamp. Their EP The Way It Was is some solid indie pop, with leadoff track “At Least We Know” being a standout banger.
7mai & DDRKirby(ISQ): I found 7mai on Bandcamp as well, while DDRKirby(ISQ) was a recommendation from my brother. Both artists practice the sort of high-energy electronica (“Pico pop”? “Kawaii future bass”? Still unsure of the exact name) that usually finds its way onto this playlist, often in the form of artists like Snail’s House or iZme. Oh, speaking of, there are a few more iZme tracks here as well, from my continued dive into their catalog.
Caroline Polachek: I’m hyped for her next album dropping in February. “Welcome to My Island” is incredible, full of big moments and sweeping choruses, “Sunsets” is also great (and she also released a great shitpost featuring it mashed up with Zelda music), all around it’s just exciting things going on.
The Full Playlist:
|Quest||ALEX & Megan McDuffee|
|Power Up||ALEX & Megan McDuffee|
|Arcane Life||ALEX & Megan McDuffee|
|I Can't Go||All the Damn Vampires (feat Mint Simon & Sunglasses Kid)|
|Strange World||All the Damn Vampires (feat. U DYE)|
|Maybe You Saved Me||Bad Suns & PVRIS|
|I CAN BE YOUR MAN||Betty Who|
|ONE OF US||Betty Who|
|Talking to Yourself||Carly Rae Jepsen|
|Shooting Star||Carly Rae Jepsen|
|The Loneliest Time||Carly Rae Jepsen (feat. Rufus Wainwright)|
|Welcome to My Island||Caroline Polachek|
|Hymn of the Haunted Hunter||Cherax Destructor/marumaru|
|Operation Start!!||Cherax Destructor/marumaru|
|nice pup||chloe moriondo|
|cdbaby<3 underscores remix||chloe moriondo|
|Wild Life||Client Liaison|
|Off White Limousine||Client Liaison|
|A Foreign Affair||Client Liaison (feat. Tina Arena)|
|Claire Danes||Damn the Witch Siren|
|Vulture Culture||Damn the Witch Siren|
|Boys Don't Cry||Damn the Witch Siren|
|Love Song in D Major||Damn the Witch Siren|
|XXX Me||Damn the Witch Siren|
|Sex U Up||Damn the Witch Siren|
|I Don't Wanna Say I'm Sorry||Damn the Witch Siren|
|Love Everlasting [Lonely Rolling Star]||DDRKirby(ISQ)|
|Sky Spirit Jig||DDRKirby(ISQ)|
|Eject||DDRKirby(ISQ) & A-zu-ra|
|Love You to Death||Fickle Friends|
|Pretty Great||Fickle Friends|
|Cosmic Coming of Age||Fickle Friends|
|San Francisco||Fickle Friends|
|Shake Her||Fickle Friends|
|Feet Don't Fail Me Now||Foxes|
|Overthinking||Friday Night Firefight|
|Die Hard||Friday Night Firefight|
|Play Myself Again||gloss|
|Tarot Card||Goth Lipstick|
|Do You Feel Like This?||Gryff|
|The Black Sun||Hermes Trismegistus|
|Under the Sun||Hermes Trismegistus|
|Time Traveler (2022 remake)||iZme|
|Honor Majesty||Jamie Paige|
|Bizarre Love Triangle||Jamie Paige (feat. Natbird)|
|I Got a Girl||Jukebox the Ghost|
|Goodbye Honeymoon Phase||Kitten|
|Automatic||Lake Street Dive|
|Linger||Lake Street Dive|
|not in a good way||LANNDS|
|I'm Not Laughing Anymore||Left at London|
|SHH!||Left at London (feat. COOKIE.)|
|Chelsea's Coming Over||Little Hurt|
|Chaeri (Danny L Harle Remix)||Magdalena Bay|
|Hot Air||Maple & Beech|
|Broken Blood Vessels||Maple & Beech|
|Stray Fantasies||Mint Julip|
|The Ending||Modern Original|
|Love Me Like You're Gonna Lose Me||Mouse|
|22 Make||Oh Wonder|
|True Romance||Oh Wonder|
|Sweet Disaster||Oh Wonder|
|Spinning Around the Wheel||Panic Division|
|Love Me Right||Panic Division|
|Young Hearts||Paper Idol|
|Milk & Moon||Pearl Crush|
|Dance Forever||Primo the Alien|
|This Hell||Rina Sawayama|
|You Will Never Be the Best at Anything You Try (Surely Not)||Short Fictions|
|Don't Start a Band||Short Fictions|
|Flirting with Her||Sir Babygirl|
|Pink Lite||Sir Babygirl|
|Spring Cleaning||Sir Babygirl|
|The Hunt||Soul Push|
|Your Touch||Soul Push|
|Separate World||St. Lucia|
|Take Me Away||St. Lucia|
|Another Lifetime||St. Lucia|
|You Are Valid||Strawberry Station|
|Everything I Had||Sub-Radio|
|Kick Jump Twist||Sylvan Esso|
|Looking for Somebody (To Love)||The 1975|
|Oh Caroline||The 1975|
|Good Time||The Aces|
|Around and Around||The Happy Fits|
|In the Lobby||The Happy Fits|
|Little One||The Happy Fits|
|No Instructions||The Happy Fits|
|Hold Me Down||The Happy Fits|
|Brooklyn. Friday. Love.||The Midnight|
|Glass Heart||Tomo Nakayama|
|Frozen Love||Tomo Nakayama|
|Blue Light||Two Door Cinema Club|
|Feeling Strange||Two Door Cinema Club|
|OHMYGOD||We Are the Union|
|Dry Mind||White Hinterland|
|Ring the Bell||White Hinterland|
|At Least We Know||YSSY|